Note: Andy Warhol's silent films were shot at the sound speed of 24 frames per second and, during the 1960s, projected at the silent speed of 16 fps resulting in slow motion. The industry standard for silent films increased to 18 fps circa 1970 meaning that today Warhol's silent films are usually projected at that speed - still in slow motion but not as slow as during the 1960s. (AD21) The Warholstars filmography does not include all of Andy Warhol's 472 Screen Tests. For detailed information on the Screen Tests see Andy Warhol Screen Tests: The Films of Andy Warhol Catalogue Raisonné, Volume One (Andy Warhol Catalogue Raisonné) by Callie Angell.

"... Naomi and Rufus Kiss is various listed as
1963 (Gidal) and 1964 (Crone), but by Mekas not at all. It seems very possible
that it was made at the time of
the sequence in Kiss.
16mm, B/W, silent,
16 fps. Naomi Levine and Rufus Collins." (SG145)

Duchamp OpeningFilmed: October 1963
Cast includes: Irving Blum, Gerard Malanga
A short "newsreel" type of film of the opening of Duchamp's retrospective at the Pasadena Art Museum on October 7, 1963. (AD38)

Stephen Koch describes this film as 16mm/30mins/BW/silent/16fps and notes: "Filmed late 1963. Mekas provides no description, and I have not been able to locate this film. Freddy Herko and Debby Lee. Mekas notes that it exists only in an original print." (SG144)

The dating of this film depends on which source you accept. In Popism, Andy Warhol via Pat Hackett gives the impression it was filmed at the end of 1963. David Bourdon says that it was "filmed in the Factory probably during the early weeks of 1964." (DB174) The Stephen Koch filmography lists it in 1963. (SG144) The Museum of Contemporary Art (MOCA) in Los Angeles listed it as 1964 during their Andy Warhol retrospective. Victor Bockris also listed it in 1964 in his filmography. (LD507)

Hand
JobFilmed: January 1964
Cast: John Giorno(LD190)

Hand Job is mentioned in Victor Bockris' biography of Andy Warhol.

Victor Bockris:

"... in January Andy had shot a second film starring John Giorno [star of Sleep and ex-boyfriend of Warhol]. Hand Job consisted of a shorter approach to the subject of sleep. This time, Warhol would keep his Zapgruder speed film trained on his boy's face while John jerked off. He shot the film in the doorway of the toilet at the back of the Factory. It was so cold, Giorno recalled, you could see your breath. 'I said, 'Well how're we gonna do this?' and then Andy would suck my cock a little bit to get me going. Right after that he shot Blow Job.'" (LD190)

Poet Diane di Prima and Alan Marlowe were two of the founders of the New York Poets' Theater (see October 29, 1961), later renamed the American Theater for Poets. Marlowe was married to di Prima from 1962 to 1969. (DQ) He was also the lover of Warhol star Freddy Herko.

"Warhol filmed the short episode-like movie of di Prima and Marlowe... soon after 29 January 1964 when di Prima sent a letter to the artist that alluded to his interest in making a film of the couple: 'come see us & shoot a Day in Our House like you said & show the Alan & me pornography -." Warhol ended up filming di Prima and Marlowe for around three minutes, the duration of a 100-foot reel of ilm, rahter than for the originally planned length of one day. Di Prima recalled, 'He came and shot a movie. It was a very short movie. A three or five minute movie of me and Alan. Alan is in bed, and he's covered by a tiger skin, which he's stroking the tail of in a very obviously suggestive manner. I get on the bed in a black leotard and tights and kind of trample him. It was a tiny room.'"(RW44)

Jill Johnston was a dancer and dance critic for the Village Voice. Warhol filmed
her dancing in the Factory using a hand-held camera, with the assistance of
the artist Ray Johnson. Stills taken by Billy Name during the shooting show
the paint and foil in the Factory's bathroom as "freshly applied"
and the ceiling of the Factory as only partially painted with silver - confirming
that the film is from early 1964, before the Factory paint job was finished.
There are at least seven 100 ft. reels of Warhol films in existence labeled Jill Johnston, but it is as yet unknown whether any of those labeled
films include this dance footage. (BN28)

ShoulderFilmed: Summer, 1964 according to the Mekas/Koch filmography.

According to the first volume of the Andy Warhol film cat. rais., the film was probably shot on the same day as Jill Johnston Dancing. (AD53) In the Stephen Koch filmography, Shoulder is listed
as "16mm, 4 minutes, B/W, silent, 16 fps. Filmed summer, 1964. Lucinda
Childs' shoulder." (SG145)

"The French artist Arman, one of the founders of the Nouveaux Réalistes movement, was known in the 1960s for creating serial accumulations of various substances or objects sealed in Plexiglas boxes; for example, his Poubelles, begun in 1959, contain assemblages of rubbish, while Combustions, begun in 1963, contain assorted burned objects. Arman can also be seen in Warhol's film Dinner at Daley's, a documentation of a dinner performance by the Fluxus artist Daniel Spoerri that Warhol filmed on March 6, 1964. Warhol owned two of Arman's Poubelles and another accumulation called Amphetamines, which were put up for sale at Sotheby's auction of the Andy Warhol Collection in May 1988."(AD30)

Six Months107 sequential Screen Tests shot by Warhol of his then-boyfriend, Philip Fagan, from November 6, 1964 - February 9, 1965.(AD73)

Mario
BananaFilmed: Date Unknown
Cast: Mario Montez(SG145)

In his book, Stargazer, Stephen Koch quotes Jonas Mekas describing this film as "Mario Montez eats a banana". Koch goes on to say that Mekas mentions that "a few other versions" of this film exists. Koch says: "I have never seen any of them, and I was told by Paul Morrissey that the original film was at some point added to footage of another work. I have been unable to determine which." (SG145) Koch lists this film in 1964. 16mm, 4mins. B/W, silent/16fps. (SG145)

Note: The following films are listed in 1964 in the Victor Bockris filmography: The End of Dawn, Messy Lives,
Apple, Pause, Lips.

1965

John
and IvyFilmed: Early January 1965
Cast: John Palmer, Ivy Nicholson, Darius de Poleon (Ivy Nicholson's son), Sean Bolger (SG146/AD141)

John and Ivy is referred to as Ivy and John in the Koch filmography, with the notation that it was filmed in early January and is 16mm, 35 minutes (24 fps), B/W, sound. (SG146) One site user describes the film as: "a stationary shot of John Palmer and Ivy Nicholson in this tiny apartment. A beam cuts the frame on the left (so from left to right it's one third of the frame; a black beam, two thirds of the frame). Ivy and John walk in and out; the radio plays in the background; they drink and dance; her two kids come in from outside and get a bath off-screen; quality of sound is poor, though Ivy comments on the fact there is a camera. It's essentially a 'domestic drama' (the room is Ivy's kitchen which is really tiny - stove off to right, refrigerator on left)... The sound quality... is poor. The music makes it difficult to hear what they are saying..." (STR)

"Waldo [Diaz Balart]'s sister had been married to Fidel Castro, who divorced her right before he became premier. There were glamorous rumors that Waldo had escaped from Cuba with a million dollars in a suitcase... We'd shot The Life of Juanita Castro over at his house on West 10th Street in the Village early that year, with a Ronnie Tavel script inspired by Waldo, and Waldo was also in it." (POP113)

Although the quote from POPism indicates that the film was shot at Waldo's home, it was actually shot at the Factory - but the idea for the film came about at a dinner at Waldo's. (NRG)

Ronald Tavel:

"Fidel Castro's brother-in-law, Waldo Dias-Balart, was living in exiled in the center of the row of beautiful 19th century townhouses on the north side (10th Street) of Tompkins Square Park... I myself had visited Cuba after Castro was in office and before travel there for Americans was banned. I'd written short light verse and serious long poems about Cuba, knew a number of Cuban dancers-in-exile and nightclub entertainers and one celebrated stage and soap star, had several close Cuban friends and a Cuban lover, and been introduced by Andy to two very charming, politically active cuban sisters, Aniram Anipso and Mercedes Ospina, etc... Some weeks before Suicide was lensed, Waldo invited Andy and the immediate proteges to dinner. We sat around a classically extended, elegant table in the splendid home... A few drinks and naturally enough the conversation turned to the Cuban revolution and its political intrigues, particularly the in-fighting on the part of the Castro siblings, and most particularly the prima donna Juanita. Andy became fascinated and said we should do the life of story of Juanita Castro..." (RT)

John G. Hanhardt (Curator, Film and Video Whitney Museum and Director of The Andy Warhol Film Project (1991)):

"In 1965, a video magazine offered to lend Warhol a Norelco reel-to-reel video recorder and player in order to write an article about his use of the equipment. It was definitely a learning experience, with Paul Morrissey, who was emerging as Warhol's key film adviser and later director, behind the camera. They encountered numerous problems working with the equipment, and no projects were initiated or developed. However, pieces were shot, including party and dance footage and a sequence showing Billy Name getting a haircut on a fire escape. An extraordinary sequence shows Edie Sedgwick in profile, speaking to Andy Warhol off-screen about Alice in Wonderland as an idea for a film and about the play of initials between Andy Warhol and Alice in Wonderland. This work was deliberately experimental, although the lighting and black background, along with the off-screen intereview technique, were to be developed further in the television shows. Yet the Norelco material, which is in the process of being restored and preserved, was a short-lived experiment at the Factory. Frustration with the equipment led Warhol to abandon video." (VT3)

More
Milk, Yvetteaka Lana Turner
Filmed: November 1965
Cast includes: Mario Montez, Paul Caruso, Richard Schmidt(SG147)Note: Although the Koch/Mekas filmographies list Ronald Tavel as the screenwriter, he actually had nothing to do with the film. (RT)

The premiere of More Milk, Yvette took place during
the mixed media performance presented by Andy Warhol at the Cinematheque during
the second week of February. 16mm/70mins/BW/sound/24fps/scenario by Ronald
Tavel (SG147)

Ari and Mario is a recently restored 66 minute film by Andy Warhol
of Nico hiring drag queen Mario Montez to babysit her son Ari. Nico claimed
that Ari's father was French film star Alain Delon in real life, although Delon
denied the claim.

A remake of Blow Job with art critic Gregory Battcock on the receiving end. The title comes from a segment of the film where Battcock chokes on a an apple he's eating and his unidentified partner tells him, "You shouldn't eat so fast."

Whips was one of the films mentioned in a half page
ad in the April 7, 1966 issue of the Village Voice, advertising The Exploding
Plastic Inevitable show at the Dom. The other Andy Warhol films mentioned as
being shown at the club included Vinyl, Sleep, Eat, Kiss, Empire, Faces, Harlot, Hedy, Couch, and Banana. (DB225)

When Salvador Dali was shown at the Andy Warhol film retrospective
at the Tate Modern in London in February/March 2002, the events pamphlet
for the retrospective described the film as a "newly discovered"
22 minute reel which was used "as a background to performances of the Exploding
Plastic Inevitable, and consists of several Screen Tests and the legendary
Whip Dance to accompany Venus in Furs." (TM)

The
BeardFilmed: Date unknown (according to Bockris, the film had been made by May 1966)
Cast includes: Gerard Malanga, Mary Woronov(LD263)

Marcel DuchampFilmed: October 7, 1966
Three film portraits of Duchamp shot at the opening of Hommage à Caissa at the Cordier and Ekstrom Gallery in NY - a benefit for the Marcel Duchamp fund of the American Chess Foundation.(AD66)

Andy Warhol's film, The Kennedy Assassination is mentioned
in the Victor Bockris biography of Andy Warhol (see references). Bockris says
that "Gerard felt humiliated when Andy stuck him in a minor role in an
epic movie, The Kennedy Assassination. (LD262) Malanga and Ronnie Cutrone alternated the roles of Jack Ruby and Lee Harvard Oswald. (AD57)

John G. Hanhardt, Curator, Film and Video Whitney Museum and Director of The
Andy Warhol Film Project (1991)):

"It was the beginning of 1970, when Warhol acquired a Sony Portapak, a
reel-to-reel 1/2 inch system, that he seriously began to explore the video medium.
This was shortly after he had started to publish Interview magazine
(October 1969) but before Vincent Fremont came on staff full-time with the Andy
Warhol Studio in 1971. These events were significant: Fremont and Warhol began
developing test ideas for ongoing television series... and the Factory Diaries,
which began in earnest in late 1971 and continued, first in black-and-white
and later in color, regularly through 1976 and more infrequently thereafter." (VT3)

WaterFilmed: 1971
Cast: Water cooler(AWM36)

From Andy Warhol 365 Takes by the staff of the Andy Warhol Museum:

"Andy Warhol's only intentionally produced piece of 'video
art' came about when Yoko Ono invited him to participate in her exhibition entitled Water Talk, held at the Everson Museum in Syracuse, New York, in October
1971. The invitation asked that Warhol and other invited artists 'produce with
her a water sculpture, by submitting a water container or idea of one which
would form half of the sculpture. Yoko will supply the other half - water."
For the project, Warhol chose to create a videotape - a single 32 minute take
of a water cooler from a fixed camera position, the soundtrack consisting of
a group of friends, including himself and Paul Morrissey, gossiping around the
water cooler at the Factory. At the exhibition, Water was shown on
a monitor and a videocassette copy was displayed alongside. Yoko Ono had wanted
to immerse the cassette in water as per the premise of the show, but Warhol
refused."

"Andy was very supportive of all
our TV projects.He had a very good eye for television, he loved it. The
format and style of our show evolved from one subject for a half-hour to
many segments, starting with our show entitled, Fashion to Andy
Warhol's TV until our final TV series, Andy Warhol's Fifteen Minutes.
The pace of the show changed, the segments moved faster and faster. As we
created these shows we realized that the cable TV audience had a very short
attention span. We started experimenting with the editing making some segments
longer and some shorter. Sometimes it worked, other times it didn't. We
burned out a few editors in the process." (UW74)

"Andy wanted us to be producing not only
the TV show, but camera-for-hire projects, like fashion-promo videos and music
videos. Our first big music video job was with the band The Cars. Andy co-directed
the video with Don Munroe with me as the producer. Don directed Ric Ocasek's
solo song, called True to You. We did other music videos for Miguel
Bose, Laura Donna Berte, Walter Steding, and Curiosity Killed the Cat." (UW76)

Note: In 1997 the
Andy Warhol Museum received ownership of the rights to Andy Warhol's film
and videos from the Andy Warhol Foundation for the Visual Arts. This included
273 Warhol films and almost 4,000 videotapes, including 40 completed episodes
of Andy Warhol's TV.